About

Yamaha Motif XS Rack Mount Sound Module
Inspiration can strike at any time, but there's no need to wait for it. The new MOTIF Rack XS is packed full of inspiring sounds, exciting rhythms and expressive control that spur your creativity to new heights - any time, any place.

Documents

These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. These buttons can be also used to call the Arpeggio type in some displays of the Play mode, Edit mode and Record mode. These buttons can be also used as Scene buttons (pages 179, 182, 209 and 211) in the Song Play/Song Record/Pattern Play/Pattern Record modes.
Group [A] [H] buttons (pages 23 and 88)
Each button selects a Voice or Performance Group. When the [CATEGORY SEARCH] button is turned on, these buttons can be used to select the Sub category. When the [TRACK] button is turned on in the Pattern mode, these buttons are used to select the desired Section from A H.

Data dial (page 81)

For editing the currently selected parameter. To increase the value, turn the dial right (clockwise); to decrease the value, turn the dial left (counter-clockwise). If a parameter with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial.
Number [1] [16] buttons (pages 23 and 88)
Use of these buttons differs depending on the on/off status of the [TRACK], [MUTE], [SOLO] and [PERFORMANCE CONTROL] buttons.
Functions of the Number [1] [16] buttons
Voice Play Normal Voice Edit
[PERFORMANCE CONTROL] button

Element selection (1 8)

[COMMON EDIT] button

Turning this button on enters the Common Edit mode, which lets you edit the parameters commonly applied to all Elements, Parts or Zones in the Voice Edit mode, Performance Edit mode, Song Mixing Edit mode, Pattern Mixing Edit mode, and Mixing Voice Edit mode.

Turn the power of the MOTIF XS on. Press the [UTILITY] button to enter the Utility mode, then press the [F2] button to call up the I/O display. Set the Mic/Line parameter to line.
Trigger Level Trigger Mode Level Meter
Sampling Setup is completed.
Set the Trigger Mode to level, then set the Trigger Level to 1.
n The Trigger Mode parameter lets you determine how the Sampling actually starts. When Trigger Mode is set to level, sampling will begin automatically as soon as the input signal exceeds the specied Trigger Level. Since Trigger Level is set to 1 here, sampling will begin automatically as soon as the audio signal is input from the CD player. When the Trigger mode is set to manual, actual Sampling starts by pressing the [F5] Start button.

Sampling

Press the [PATTERN] button to enter the Pattern Play mode, then select a Pattern and Section to be recorded. Press the [INTEGRATED SAMPLING] button to enter the Sampling mode. Press the [F6] button to call up the Setup display. Set the following parameters as required in the Setup display.
Play back the audio source (CD player) and adjust the audio input level with the GAIN knob on the rear panel to get the appropriate level.
Adjust the GAIN so that the level is high enough for a clean recording but not so high as to cause clipping or distortion.

A / D INPUT R L GAIN

n Please note that the input sound may be clipped or distorted if the meter reaches maximum level.
Stop playback of the audio source (CD player). Press the [F5] button to call up the WAITING indicator (Trigger Standby status).

Start the CD player.

Since the Trigger Level is set to 1 here, sampling will begin automatically as soon as the audio signal is input from the CD player. In this example, record a one-measure drum pattern from the CD.
loops. If this information is available, enter the appropriate values to the parameters above.

Sample Edit

Press the [F6] button to stop sampling, then stop the CD player.
The wave of the recorded audio signal will be shown on the display.
Press the [SF1] button to hear your newly recorded sound.
Next, lets use the Slice function to match the recorded sample with the tempo. This Slice feature lets you automatically divide the recorded sample into separate slices. These slices are then assigned to successive notes and arranged as MIDI data. This lets you manipulate the component parts of your sample loops as MIDI data, and gives you the power to easily change tempo and even the rhythmic feel, without disturbing the pitch or sound quality.

n Combining these two kinds of Arpeggios types (named ***_ES and ***_XS) in performances when creating Songs and Patterns allows tremendous interactivity and creative freedom.

6 Length

Indicates the data length (amount of measures) of the Arpeggio type. When the Loop parameter*1 is set to off, the Arpeggio plays back for this length and stops.

7 Original Tempo

Indicates the appropriate tempo value of the Arpeggio type. Note that this tempo is not set automatically when selecting an Arpeggio type.

8 Accent

The circle indicates that the Arpeggio uses the Accent Phrase feature (page 64).

9 Random SFX

The circle indicates that the Arpeggio uses the SFX feature (page 64).

) Voice Type

Indicates the voice type appropriate for the Arpeggio Type. When the Voice With Arpeggio parameter*2 is set to on in the Song/Pattern Record mode, the voice of this type is automatically selected.
*1 The Loop parameter can be set in the Arpeggio Other display of Voice Common Edit (page 102), Performance Part Edit (page 156) and Mixing Part Edit (page 235). *2 The Voice with Arpeggio parameter can be set in the Arpeggio display (page 189) of the Song/Pattern Record display.
Arpeggio type with a normal name (example: UpOct1)
In addition to the above types, there are three playback types: the Arpeggios created for use of Normal Voices and played back using only the played notes and their octave notes (page 64), the Arpeggios created for use of Drum Voices (page 65), and Arpeggios containing mainly nonnote events (page 65).
Arpeggio related settings How to use the Arpeggio Type List
The Arpeggio Type list in the Data List 2 (PDF) documentation contains the following columns. 1
ApKb ApKb ApKb ApKb ApKb ApKb ApKb
Rock Rock Rock Rock Rock Rock Rock 7
ARP Name 70sRockB 70sRockC 70sRockD 70sRockE 70sRockF 70sRockG 70sRockH
4/4 4/4 4/4 4/4 4/4 4/4 4/4
Voice Type Accoustic Piano :
There are several methods for triggering and stopping the Arpeggio playback. In addition, you can set whether or not SFX sounds and special Accent Phrases are triggered along with the normal sequence data. This section covers the Arpeggio related parameters which can be set in the Voice, Performance and Mixing modes.

sync-off

2 Hold*
n Depending on the selected parameter, the KBD icon appears on the tab corresponding to the [SF6] button. In this condition, you can enter the note number or velocity by pressing the appropriate note on the keyboard while holding the [SF6] KBD button. For details, see page 82.

! @ # $ )

6 Tempo*
Settings: C -2 G8 n Please keep in mind that no sound is produced when the Key Mode is set to sort or thru and notes are played outside the Note Limit setting here.
Determines the lowest and highest notes in the Arpeggios note range. Notes played in this range trigger the Arpeggio. For example, setting a Note Limit of C5 C4 lets you trigger the Arpeggio by playing notes in the two ranges of C -2 to C4 and C5 to G8; notes played between C4 and C5 have no effect on the Arpeggio.

5 Note Limit

8 Velocity Mode
Adjusts the velocity of the Arpeggio notes.

Settings: original, thru

% Velocity Rate
Determines the offset value by which the Arpeggio notes will be shifted from their original velocities. If the resultant velocity value is less than zero it will be set to 1, and if the resultant velocity is greater than 128 it will be set to 127. This parameter can be changed via the Knob directly.
Settings: -100% +0% +100%

original

The Arpeggio plays back at the preset velocities included in the Arpeggio sequence data.
The Arpeggio plays back according to the velocity of your playing. For example, if you play the notes strongly, the playback volume of the Arpeggio increases.

^ Gate Time Rate

Determines the Gate Time (length) of the Arpeggio notes. The Gate Time cannot be decreased beyond its normal minimum of 1; any values outside that range will automatically be limited to the minimum. This parameter can be changed via the Knob directly.

9 Output Octave Shift

Species the maximum Arpeggio range in octaves.

Settings: -10 +10

) [SF1] ARP1 [SF5] ARP5 (Arpeggio 1 5) buttons

The EG Time Velocity Sensitivity affects the Attack Time and Hold Time.

atk+dcy (attack+decay)

The EG Time Velocity Sensitivity affects the Attack Time, Decay1 Time, and Hold Time.
The EG Time Velocity Sensitivity affects the Decay 1/2 Time.

atk+rls (attack+release)

The EG Time Velocity Sensitivity affects the Attack Time, Release Time, and Hold Time.
This EG Time Velocity Sensitivity affects all the Pitch EG Time parameters.

^ EG Time Key Follow

Determines the degree to which the notes (specically, their position or octave range) affect the pitch EG times of the selected Element. When this is set to a positive value, high notes result in a high pitch EG transition speed while low notes result in a slow speed. When this is set to a negative value, high notes result in a slow pitch EG transition speed while low notes result in a high speed. When this is set to 0, the pitch EG transition speed does not change no matter what the pressed note.

Large range

Small range
# EG Depth Vel Curve (EG Depth Velocity Curve)
The ve curves determine how the pitch range will be generated according to the velocity (strength) with which you play notes on the keyboard. The horizontal axis of the graph is the velocity, and the vertical axis is the pitch range.

High Pitch Change

Low Low Velocity

Settings: Curve 0 4

& Center Key
Determines the central note or pitch for the EG Time Key Follow (^). When the Center Key note is played, the PEG behaves according to its actual settings.

Settings: C -2 G8

About Filter Types

LPF (Low Pass Filter)

This is a Filter type that only passes signals below the Cutoff Frequency. The sound can be brightened by raising the cutoff frequency of the lter. On the other hand, the sound can be darkened by lowering the cutoff frequency of the lter. You can produce a distinctive peaky sound by raising the Resonance to boost the signal level in the area of the Cutoff Frequency. This lter type is most popular and useful for producing classic synthesizer sounds.

Center key

n You can also set the note directly from the Keyboard, by holding down the [SF6] button and pressing the desired key. See Basic Operation on page 82.

Cutoff Key Follow and Center Key
When Cutoff Key Follow is set to 100 Large Amount of cutoff frequency change

1~5 6~)

Lower range

Center Key = C3

Higher range
8 Center Key (Indication only)
Determines the Gain of the signal sent to the lter. The lower the value, the lower the Gain. The tonal characteristics generated by the lter differ depending on the value set here.

6 Gain

Determines the level which the cutoff frequency reaches from the Attack Level after the Decay1 time elapses.
Determines the cutoff frequency which will be maintained while a note is held.
Determines the nal cutoff frequency reached after the note is released.
Determines the range over which the cutoff frequency envelope changes. A setting of 0 will cause the cutoff frequency not to change. The farther from 0 the value is, the larger the range of the cutoff frequency. For negative values, the change of the cutoff frequency is reversed.
Determines how the range of the cutoff frequency responds to velocity. When this is set to a positive value, high velocities cause the Filter EG range to expand and low velocities cause it to contract, as shown below. When this is set to a negative value, high velocities cause the Filter EG range to contract and low velocities cause it to expand. When this is set to 0, the Filter EG range does not change no matter what the velocity.
Determines the speed of attack from the initial cutoff frequency (Hold Level) to the maximum level of the Voice after the hold time has elapsed.
Determines how fast the envelope falls from the maximum cutoff frequency (Attack Level) to the cutoff frequency specied as the Decay 1 Level.
Determines how fast the envelope falls from the cutoff frequency specied as the Decay1 Level to the cutoff frequency specied as the Decay2 Level.

Large range Small range

Determines how fast the envelope falls from the cutoff frequency specied as the Decay2 Level to the cutoff frequency specied as the Release Level when the note is released.
# EG Depth Vel Sens Curve (EG Depth Velocity Sensitivity Curve)
The ve curves determine how the FEG transition range changes according to the velocity (strength) with which you play notes on the keyboard. The selected curve is indicated by the graphic on the display. The horizontal axis of the graph is the velocity, and the vertical axis is the Cutoff Frequency range. For example, the illustration below indicates that the middle range of velocities (around 64) causes the FEG transition range not to change and the higher/lower range of velocities causes it to change more greatly.

Other settings[SF4] Other
From this display, you can set the control functions for the Knobs, and the up/down range for the Pitch Bend wheel. 7 8
8 ARP Sync Quantize Value
This parameter is the same as the Sync Quantize Value parameter in the Arpeggio display (page 139) of the Performance Play mode.
Output Level and Master Effect settings[F2] Level/MEF
Output Level settings[SF1] Level
Determines which lamp among the TONE 1, TONE 2, ARP FX, REVERB, CHORUS and PAN is turned on when selecting a Performance. This setting can be stored for each Performance.
Settings: tone1, tone2, ARP FX, reverb, chorus, pan
Indicates the level of the Knobs printed ASSIGN1 and ASSIGN2 at the time at which the Performance is selected with the TONE1 lamp turned on. The functions assigned to the Knobs are indicated at right of the values respectively.
Determines the output level of the entire Performance. You can adjust the overall volume, keeping the balance between all Parts.
Determines the stereo pan position of the Performance. You can also adjust this parameter using the PAN knob on the front panel.
Settings: L63 (far left) C (center) R63 (far right) n Note that this Performance Pan parameter may have little or no audible effect if the Pan for a specic Part is set to the left position and the Pan for another Part is set to the right position.
Determines the behavior of the Ribbon Controller. When set to reset, releasing your nger from the Ribbon Controller automatically returns the value to the center. When set to hold, releasing your nger from the Ribbon Controller maintains the value at the last point of contact.
Adjusts the chorus send level. The higher the value the deeper the chorus. You can also adjust this parameter using the knob on the front panel.
Settings: n When Reverb Send/Chorus Send is set to 0 in the Performance Part Edit mode, the setting here is not available.

7 ARP Common Switch

Determines whether Arpeggio is on or off. This parameter is the same as the Common Switch parameter in the Arpeggio display (page 139) of the Performance Play mode.

4 Chorus Send*

3 Reverb Send*
Adjusts the reverb send level. The higher the value the deeper the reverb. You can also adjust this parameter using the knob on the front panel.
Master Effect settings[SF2] MasterFX

Q (frequency bandwidth)

5 bands Low Lo-Mid Mid Hi-Mid High

1 Shape

Enables you to select one of two equalizer shapes: shelving or peaking. This parameter is available for Low and High.
n Depending on the selected parameter, the LIST icon is shown at the tab menu corresponding to the [SF6] button. In this condition, you can call up the list by pressing the [SF6] LIST button, then select the desired item from the list. For details see page 82. Settings: shelv, peak

2 Current Performance

When this is set to on, the currently selected Performance (the one you are editing now) is selected as source.
When this is set to on, the currently selected Performance (the one you are editing now) is selected as source. Accordingly, you can copy the parameter settings from a Part to a different Part of the same Performance.

3 Source Part

Determines the Part of the source Performance. The name of the Voice assigned to the selected Part is shown.

4 Effect Unit Settings

Determines which Effect units are copied. You can select Effect units to be copied from Reverb, Chorus, Master EQ and Master Effect.
n Even when each of the Reverb and Chorus is set to on, executing the Job does not copy the Send Level from the Voice to the Performance. If you want to apply the same depth of the Reverb and Chorus as in the Voice mode to the copied Voice, set the Reverb Send (1) and Chorus Send (2) in the Voice Output display of the Performance Part Edit mode to the same value manually as in the Voice Edit mode.
3 Data type of the source
Determines the source data type including the Part number. According to the setting here, the Data type of the destination below will be automatically set to the appropriate item.
Settings: Common, Part 1 4, A/D, mLAN n The Insertion Effect Switch is a Part parameter. Therefore, the Insertion Effect Switch parameter settings of the selected part are copied only when selecting one of the Parts 1 4.
4 Data type of the destination
Determines the destination data type including the Part number. When the data type of the source Voice (above) is set to common, this parameter will be xed to common.
Settings: Common, Part 1 4, A/D, mLAN
Transmitting the Performance data via MIDI[F4] Bulk (Bulk Dump)
This function lets you send your edited parameter settings for the currently selected Performance to a computer or another MIDI device for data archiving. To execute the Bulk Dump operation, press the [ENTER] button.
n In order to execute Bulk Dump, youll need to set the correct MIDI Device Number. For details, see page 268. n The Bulk Dump data includes only the MIDI messages and does not include the Waveforms.
Creating a Voice/Performance by Using the Sampling Function

Reso MidFreq Qt Val

Attack MidGain Qt Str

Decay MidQ GateT

TONE 1 TONE 2 ARP FX Sustain HighGain Velocity

Release Pan Octave

Assign1 Reverb UnitMlt

Assign2 Chorus Tempo

Track View display[F1] TrackView

[SONG]

This display always appears rst when the Song mode is engaged. ! @8 $ ) #
n For details about each function, see page 90.
The Sliders lets you adjust the volume for each Part.
When the current part is any of 1 8, the eight sliders adjust the volume for Parts 1 8. When the current Part is any of 9 16, the eight sliders adjust the volume for Parts 9 16. The Part can be selected by turning the [TRACK] on and pressing the desired Number button.

% & * (

1 Song number, Song name
Determines the Song to be played back.
Song number: Song name: See the Note below.
n You can edit the Song name by moving the cursor to the corresponding location and pressing the [SF6] CHAR button. For details, see page 82.
Track 1 Track 2 Track 3 : Track 16
2 Location (Indication only)
Indicates the measure number assigned to Location 1 and 2. For detailed instructions on setting the Location, see page 178.
9 Mute/Solo (Indication only)
Indicates the Mute/Solo status for each track. For detailed instructions on setting Mute/Solo, see page 179.
Blank: Neither Mute nor Solo are assigned to this track. m: Indicates muted track. s: Indicates soloed track.

3 Meas (Measure)

Determines the location at which playback starts. This also indicates the current location of playback. For detailed instructions on setting the measure, see page 178.

Measure Beat Clock

) Voice Name
Indicates the Voice name of the Mixing Part corresponding to each track.

! Loop (Indication only)

Measure: Beat, Clock: Indication only

4 Trans (Transpose)

Adjusts the tuning in semitone increments.

Settings: -36 +36

Determines whether or not Loop playback is set for each track. The track for which Loop is turned on plays repeatedly following the setup of the Track Loop display (page 185).
Settings: Blank (Loop off), L (Loop on)

@ Song Position Line

When Copy Event is executed, any data already existing at the Destination location will be overwritten.
Determines the event type to be extracted. Specic Note Numbers and Control Numbers (of the Control Change and Channel Mode message) can also be specied as required.
Settings: Note*, Program Change, Pitch Bend, CC & Ch.Mode (Control Change and Channel Mode Message)*, Ch After Touch (Channel Aftertouch), Poly After Touch (Polyphonic Aftertouch), System Exclusive * You can specify the Note Number (C -2 G8, all) and Control Number (000 127, all) respectively.

03: Erase Event

This Job clears all specied events from the specied range, effectively producing a segment of silence.
n When the Event Type is set to Note, you can also set the Key directly from the keyboard by holding down the [SF6] KBD button and pressing the desired key.

3 Track

Determines the destination track (01 16).
The original data in the source range specied above will be erased.
05: Create Continuous Data
This Job creates continuous pitch bend or control change data over the specied range.

6 Number of Times

Determines the number of times the data creation is to be repeated. For example, if data is created in the range M001:1:000 M003:1:000 and this parameter is set to 03, the same data will be created at M003:1:000 M005:1:000 and M005:1:000 M007:1:000. This Job lets you insert continuous volume (expression) or lter cutoff variations to create tremolo or wah effects.

06: Thin Out

This Job thins out or selectively removes the specied type of continuous data in the specied rangeallowing you to free up memory space for other data or further recording.
Determines the Song track (01 16, tempo, all) and range (Measure : Beat : Clock) over which the Job is applied.
Determines the event type to be created.
When the Track is set to one of and all:
Pitch Bend, Control Change*, Ch. After Touch (Channel Aftertouch), System Exclusive *You can also specify the Control Number (0 119)

Copying parameter settings from another Mixing, Voice and Performance[F3] Copy
Copying parameter settings from another Mixing (Copy Part)[SF1] Part
This convenient operation lets you copy Common Edit and Part Edit settings of a certain Mixing to the currently edited Mixing. This is useful if you are creating a Mixing and wish to use some parameter settings from another Mixing.
Determines the Bank and the Mixing program number to be copied. The name of the selected Song or Pattern is indicated at right. If you wish to select the current Mixing as source, enter the checkmark in the Current Mix check box.

2 Part number

3 Selects the Part (01 16) to which the source Voice is assigned. The name of the selected Song or Pattern is indicated at right.

3 Data type

Determines the source data type. By checking the appropriate box, the corresponding data settings are copied from the source Voice to the destination Mixing. The other parameter settings are not copied from the Voice to the current Mixing.

Source setup

1 In the Song mode: Song number In the Pattern mode: Pattern number
Determines the source Mixing by selecting the Song number (Pattern number while in the Pattern mode). The name of the selected Song or Pattern is indicated at right. To select the current Mixing as source, enter the checkmark in the Current Mix checkbox.
Copying the Performance Edit settings to the Mixing Edit (Copy Performance)[SF3] Perf
This Job lets you copy the settings of the Performance Edit to the current Mixing. This would come in handy when a certain Performance has settings that you want to use in your Mixing program.

2 Data type

Determines the source data type.
Settings: Common, Part1 16, A/D, mLAN n The Insertion Effect Switch is a Part parameter. Therefore, the Insertion Effect Switch parameter settings are copied only when selecting one of the Parts 1 16.
1 In the Song mode: Song number In the Pattern mode: Pattern number, Section
1 Bank, Performance number
Determines the Bank and the Performance number to be copied. The name of the selected Performance is shown at right.
Determines the Mixing Template to be stored or recalled. Pressing the [SF5] button to store the current Mixing while pressing the [SF4] button to recall the Mixing Template stored to User Memory.

Settings: 01 32

Audio Input Settings in the Voice mode[F4] VoiceAudio
You can set parameters related to audio input signal from the [A/D INPUT] connector and the mLAN connector in the Voice mode. This display is available only when entering the Utility mode from the Voice mode.
n The mLAN Input (m1 m14) is available only for the MOTIF XS8. This is available for MOTIF XS6/7 only when an optional mLAN16E2 has been installed.
From this display you can set various parameters of the Audio Input signal in the Voice mode, such as Output jacks, Volume, Pan, and Effect depth. This display is available only when entering the Utility mode from the Voice mode.

1 Micro Tuning No.

Determines the destination to which the created Micro Tuning setting is stored.

2 Micro Tuning Name

Enters the desired name for the Micro Tuning. For detailed instructions on naming, see page 82.

3 Tuning Offset

Lets you tune the individual notes of the keyboard in cents to create your original Micro Tuning.
Settings: -99 +0 +99 cents

m1 : m14 ins L

(A/D Input only)
: mLAN OUTPUT 14 Internal Vocoder module
Determines the effect routing for Insertion effects A and B. The setting changes are shown on the diagram in the display, giving you a clear picture of how the signal is routed.

n When entering the File mode from the Performance/Song/ Pattern mode, set a Part to which the Voice including the loaded WAV or AIFF le is to be assigned.
Loading a SMF le (Standard MIDI le)
Select a Song number or Pattern Number/Section to which the Standard MIDI File is to be loaded.
n When you want to load the SMF le to a Song, enter the File mode from the Song mode. When you want to load the SMF le to a Pattern, enter the File mode from the Pattern mode.

Set the Type to SMF.

Display Messages

LCD Indication

Are you sure? Arpeggio memory full. Bad disk or memory. Bulk data protected. Cant access to the host Cant execute to the Preset Wave. Cant undo. Are you sure? Completed. Conrmed password is invalid. Connecting to USB device. Copy protected. Device number is off. Device number mismatch. Directory is not empty. Disk or memory is full. Disk or memory is write-protected. Disk or memory read/write error. File already exists. File is not found. File or directory path is too long. Illegal bulk data. Illegal le name. Illegal le. Illegal parameters. Illegal sample data. Keybank full MIDI buffer full. MIDI checksum error. Mixing Voice full. mLAN identity ID check OK. No data.
Conrms whether you want to execute a specied operation or not. The internal memory for Arpeggio data is full, preventing storing the recorded sequence data as an Arpeggio. The external storage device connected to this synthesizer is unusable. Format the external storage device and try again. Bulk data cannot be received because of the setting in the Utility mode. For details, see page 268. The MOTIF XS cannot access a host computer. This message appears when you try to save the preset Waveform to an external storage device. When certain Song/Pattern Jobs are executed, internal memory becomes too full for use of the Undo operation. The specied load, save, format, or other Job has been completed. The new password cannot be registered because the conrmed password does not match the new password. Recognizing the USB storage device connected to the USB TO DEVICE terminal. You have attempted to export or save a copy-protected digital audio source. Bulk data cannot be transmitted/received since the device number is off. Bulk data cannot be transmitted/received since the device numbers dont match. You have attempted to delete a folder that contains data. The external storage device is full and no more data can be saved. Use a new external storage device, or make space by erasing unwanted data from the storage device. The external storage device is write protected, or you have attempted to write to a read-only medium such as CD-ROM. An error occurred while reading or writing to/from an external storage device. A le having the same name as the one you are about to save already exists. The specied le was not found on the external storage device during a load operation. The le or directory you tried to access cannot be accessed because the amount of characters indicating the path is too long. An error occurred while receiving the Bulk data or Bulk Request message. The specied le name is invalid. Try entering a different name. The le specied for loading is unusable by this synthesizer or cannot be loaded in the current mode. This message appears when trying to execute the Song Job or Pattern Job with invalid settings. The Sample le specied for loading is unusable by this synthesizer. The maximum overall number of Key Banks has been exceeded when executing Sampling related operations including Jobs and Load. Failed to process the MIDI data because too much data was received at one time. An error occurred when receiving bulk data. The Mixing Voice cannot be stored because the number of Voices already stored has exceeded the maximum capacity. The MOTIF XS has been connected to the computer properly via an IEEE1394 cable. When a Song/Pattern Job is executed, the selected track or range contains no data. Select an appropriate track or range. In addition, this message appears when a Job related to a Mixing Voice cannot be executed because the specied Mixing Voice is not available. An appropriate pair of expansion DIMMs is not properly installed, or the pair is not properly matched. This message appears when a Sample-related Job cannot be executed because the specied Sample is not available. This message appears while obtaining the network information. Indicates this synthesizer is restoring the factory-programmed settings. Indicates that a le is being loaded. Indicates this synthesizer is receiving MIDI bulk data.

Rear Connectors

*Mono/Stereo

Sample Format
Original format, WAV, AIFF
Specifications and appearance subject to change without notice. All trademarks and registered trademarks are property of their respective owners.

For details please contact:

www.yamahasynth.com

Printed in Japan

LCK-0603

Preliminary
Instant Inspiration, Infinite Possibilities
Get inspired! With the new Yamaha MOTIF XS, inspiration is just a key press away. High-quality sounds to inspire you, intelligent arpeggiators to fuel your creativity, recording features to capture every idea, built-in sampling to create full audio/MIDI arrangements, rhythmic Patterns to compose with, studio-style mixing controls and versatile effect processing to master your final productions. With all this and more, the MOTIF XS will soon be your favorite go-to instrumentwhether youre composing at home, recording in the studio, or playing live. Its got absolutely everything you need to make professional quality music. Close your eyes, play the gorgeous sounds and rhythms of the MOTIF XSand feel the inspiration.
High Quality Sounds to Spark Your Creativity
he MOTIF XS provides an exceptionally broad selection of realistic sounds to spark your creativity, with a massive 355 MB of high-quality waveforms and samples on board. A single Voice can have up to eight separate sound Elements, enabling composite sounds of remarkable complexity and nuance. Among the standout Voices is a resonant, meticulously recorded concert grand piano sound that is practically worth the price of admission by itself. New acoustic piano, electric piano and orchestral samplesnot to mention the richly textured and distinctly electronic synthesizer wavesgive you the sonic tools to fully realize virtually any style of music and any instrumentation.
VCM REV-X HALL VCM Effect
new feature is the Expanded Articulation tone generation system. A notherthe eight available Elements, XA allows you(XA)more effectively recreate Using to realistic sound and natural performance techniquessuch as legato, staccato and key release soundsoften used on acoustic instruments but unavailable or difficult to realize on electronic keyboards. It also lets you assign Elements to on/off panel switches, and change sounds within a Voice in real timefor example, playing a classical guitar voice and switch between playing normally and playing high harmonics. XA also offers other unique modes for random and alternate sound changes as you play.
VCM FLANGER VCM EQUALIZER 501

VCM COMPRESSOR

A wide selection of special Mega Voices provide even more
expressive nuance, when used with sequencer tracks or the special Mega Voice Arpeggios. Mega Voices are not meant to be played from the keyboard because of their complex velocity layers, but have special expressive sounds that are designed to be precisely triggered by recorded datafor example, letting you create an acoustic guitar track with authentic sounding muted playing, slides and bell-like harmonics.

Mega Voice

VCM PHASER
a uniquely natural half damper effect O ther Voice-related features include you nuanced control over the sustained for acoustic piano sounds. This gives sound when pressing the damper pedal, depending on how far down you press the pedal. The MOTIF XS has a full complement of effects, both insert (Insertion) and send (System), and includes a special set of VCM (Virtual Circuitry Modeling) effects that authentically model the elements in analog circuitry, realistically recreating the uniquely warm characteristics of vintage processing gear. Speaking of vintage, the instrument also includes a sophisticated Vocoder effect that produces classic robotic synthesizer sounds, molded by your speaking or singing voice through a connected microphone.

Vocoder

Intuitive Interface, Easy Operation
technology D espite all the advancedpacked tightly and wealth of features into the instrument, the MOTIF XS is exceptionally intuitive and easy to use. It gives you a large, full-dot color LCD that lets you see multiple parameters at a glance, and has clear, high-resolution graphics with virtual sliders, knobs and more. he panel of the MOTIF XS provides an amazing level of control and flexibility. Eight knobs and eight sliders let you instantly tweak a variety of parameters and effects as
O ther convenient operation features include the improved Category Search function, which now is organized with Dual Categories that help you find the Voice you want. Calling up
the Guitar category, for instance, gives you access to the Dual (sub) Categories, such as Acoustic, Electric Clean and Electric Distortion. The Mega Arpeggio Voices also have their own Dual Category for easy selection of those unique Voices. he MOTIF XS is not only exceptionally intuitive and easy to operate, its a true joy to playright down to the newly designed expressive keyboards.
Ideal for Live Performance, Song Creating and Arranging
he MOTIF XS has so many sophisticated features that help jump-start your creativity worry about running out of recording space. You can record your keyboard playing, freely calling up various Arpeggio types as you improvise, then edit the Song later as necessary. You may even want to keep the recorder running as you play, then listen back later and pick out the best parts to create your final composition. feature the Integrated Sampling A nother powerfuland MIDIisrecording. Simply install Sequencer, which seamlessly combines audio optional DIMM modules (up to 1 GB) and record the audio directly to tracks on the MOTIF XS. Record your vocals or acoustic guitar (with a microphone), electric guitar or bass, or even short rhythm loops from a sample CD. Theres also a Slice feature that automatically chops up your rhythms and riffs into their individual beats and notes, letting you manipulate the component parts of your sample loops as MIDI datagiving you the power to easily change tempo and rhythmic feel, without disturbing the pitch or sound quality. and live performance potential. One of the most powerful of these is Arpeggio, which lets you trigger a variety of sequenced phrases from the keyboard. There are approximately 6,000 different Arpeggio phrases on board, and you can have four different Arpeggios, playing four different instrument parts, running simultaneously-in perfect sync, of course. The music making possibilities are virtually endless. Have a drum Voice play an automatic rhythm, add an Arpeggio bass phrase, and fly in other instrument phrases as the inspiration hits you. Everything stays in sync, and everything follows your chord changes. with W hile you experiment and play around the song Arpeggios in the Performance mode, ideas will come fast and fierce-maybe too many to remember. No worries, though. You can capture them easily and directly by recording them to a Song or Pattern (which can be stored to the built-in flash memory). Since the data is MIDI, you dont have to

Sampling Slice

you play. The eight knobs are especially versatile, letting you use the knobs to independently control eight different parameters (out of 24 selectable), or use them to control a certain effect setting (reverb, chorus or pan) for up to eight different parts (in a song, for example). The knobs can also be used to change the rhythmic feel and other settings of Arpeggios and Patterns while they play back. Two Assignable Function buttons give you added control over the sound of the new Expanded Articulation (XA) Voices, letting you change sounds within a Voice in real time.
The MOTIF XS6 and XS7 have a new, natural FSX keyboard (61/76 keys), while the MOTIF XS8 features the grand piano-like BH (Balanced Hammer) keyboard (88 keys).

Computer Integration

Software Integration
odays music production is highly dependent on software, and the MOTIF XS is designed to work seamlessly and transparently in your computer-based environment.
The Enormous Power of Cubase 4
Cubase 4 is the cutting edge, professionals choice in digital audio workstations. It now features the new SoundFrame universal sound manager, a powerful system that manages all your sounds, presets and loops-including your MOTIF XS voices-in one centralized database. This is the heart of SoundFrame and is called MediaBay. Combined with the comprehensive integration features of Studio Connections, SoundFrame and MediaBay help make your MOTIF XS an inseparable part of the Cubase 4 studio. Track Presets add further flexibility and save huge amounts of time. For example, you can call up a vocal track and instantly have your favorite EQ and compressor loaded automatically, with all your custom settings. These organizational tools radically speed up your MediaBay workflow and even help in the creative process. The mixer in Cubase 4 has been expanded with a powerful Control Room section, allowing you to connect multiple sets of control room monitors and external sources directly to your audio hardware and switch between them from a convenient Control Room panel. Theres also a talkback channel, a headphone bus, and you can create up to four studio mixes (monitor mixes), with a separate studio send section on each mixer channel for controlling those mixes.

Cubase 4

The Remote Control mode lets you control your DAW software right from the panel of the MOTIF XSfor example, starting and stopping playback/recording with the special transport buttons, changing track levels with the sliders, and tweaking parameters with the knobs. the MOTIF XS comes A full-featured music production synthesizer in every way,any application and anyequipped with a variety of connectors and interfaces-for virtually studio situation. These include independent Assignable Outputs, A/D Inputs (for recording external sources), S/P DIF Digital Output, MIDI, Ethernet, IEEE 1394 (standard on the MOTIF XS8 and available on the MOTIF XS6/7 with the optional board) and two USB connectors, compatible with the high-speed USB 2.0 standard. he comprehensive set of connectorsEthernet, IEEE 1394 and USB TO HOSTmake interfacing with computers and your favorite software exceptionally easy. he MOTIF XS is also compatible with the MOTIF XS Editora comprehensive, easy-to-use editing software program that lets you edit (via USB connection) the
Mixing setups and Mixing Voices to be used for Song/Pattern playback directly on your computer. The MOTIF XS Editor is free and can be downloaded from the Yamaha website. Naturally, the editor can be used within Cubase as part of Studio Connections, and all settings can be saved with each project for instant recall.
In particular, the new Ethernet connection gives you fast transfer of your MOTIF XS files to and from a computer on the same network. The IEEE 1394 interface gives you a one-cable, one-network solution for high-speed, realtime transfer of multi-channel digital audio and MIDI data.

Control Room

MOTIF XS Editor
The Cubase Connectionand Studio Connections
f Cubase is not yet part of your software arsenal, a copy of the new Cubase AI is bundled with the instrument, letting you dive in and start using the versatile features
of Studio Connections right out of the box. Cubase AI is a full-featured music production software that integrates fully with the MOTIF XS, and can easily be upgraded to Cubase 4. It gives you all the tools to produce professional level recordingsquickly and easilywith a system that you can expand into the future.

The MOTIF XS is specially designed to function seamlessly with Cubase 4, Steinbergs powerful DAW softwaregiving you a comprehensive, all-in-one music production system in which both hardware and software are fully integrated. With our Studio Connections system (created jointly with Steinberg), you can effectively bring the MOTIF XS into the Cubase environment and use it just as if it were a plug-in software synthesizerno complicated connections or complex setup necessary. Whenever you open a project, your MOTIF XS is automatically enabled as well, with all the custom settings you previously saved. You can use the convenient panel controls on the MOTIF XS to remotely to control a wide variety of operations on Cubase 4. And since song files on the MOTIF XS are in Cubase format, you can create material on the MOTIF XS and easily import it to tracks in Cubase 4 for further editing and mixing.
Other new Cubase 4 features include a revamped VST3 plug-in set with over thirty new plug-ins including StudioEQ, Cloner, AmpSimulator, a new Multiband Compressor, and many more. New VST instruments include three outstanding new synthesizers, as well as the HALion One sample player, with hundreds of new instrument sounds. Cubase 4 also provides full surround sound capabilities, with a full-fledged multi-channel audio path from input to output. The Score editing facilities have also been enhanced, not only extending the functionality but also making it easier to use.